Becoming paradigm: the image of the Turks in the construction of Pius V’s sanctity
This essay analyses, through three exemplary images, the way in which the image of the Turkish enemy was used to promote the beatification and sanctification of pope Pius V, progressively becoming the emblem of all the battles the Church had to fight against any form of religious and political dissi...
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ftdatacite:10.13138/2039-2362/1712 2023-05-15T18:49:24+02:00 Becoming paradigm: the image of the Turks in the construction of Pius V’s sanctity Capriotti, Giuseppe 2017 https://dx.doi.org/10.13138/2039-2362/1712 http://riviste.unimc.it/index.php/cap-cult/article/view/1712 en eng eum This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. http://creativecommons.org/licenses/by-sa/4.0 CC-BY-SA Text Article article-journal ScholarlyArticle 2017 ftdatacite https://doi.org/10.13138/2039-2362/1712 2021-11-05T12:55:41Z This essay analyses, through three exemplary images, the way in which the image of the Turkish enemy was used to promote the beatification and sanctification of pope Pius V, progressively becoming the emblem of all the battles the Church had to fight against any form of religious and political dissidence in the modern era. While in the frontispiece published in the Vita by Girolamo Catena (1586) the victory over the Turks is remembered along with that over the Huguenot heretics, in the painting of the beatification, conceived by Lazzaro Baldi in 1672, the pope is celebrated only and exclusively as the prophet who received the revelation of Lepanto’s victory. Following the canonization (1712), Andrea Procaccini realised the altarpiece for the chapel of St. Pius V in Santa Maria Sopra Minerva in Rome, where the Turkish enemy, personified as a woman, is floored by St. Michael archangel, who is the alter ego of St. Pius V. In this case it is possible that the Turkish woman does not only represent the Ottoman Empire, but also, more generally, Heresy and the battles that the Church must lead in an increasingly secular Europe, that is becoming more and more independent from the dictates of Catholicism. Il saggio analizza attraverso tre immagini paradigmatiche come l’immagine del nemico turco sia stata utilizzata per promuovere la beatificazione e la santificazione di papa Pio V e come essa sia divenuta progressivamente l’emblema di tutte le lotte da compiere da parte della Chiesa contro ogni forma di dissidenza religiosa e politica in età moderna. Mentre nell’antiporta pubblicata nella Vita di Girolamo Catena (1586) la vittoria sui turchi è ricordata insieme a quella sugli eretici ugonotti, nel quadro della beatificazione, realizzato da Lazzaro Baldi nel 1672, il pontefice è celebrato solo ed esclusivamente come il profeta che ha ricevuto la rivelazione delle vittoria di Lepanto. A seguito della canonizzazione (1712) Andrea Procaccini realizza la pala d’altare per la cappella di San Pio V in Santa Maria Sopra Minerva a Roma, nella quale il nemico turco, personificato in una donna, viene atterrato da un San Michele arcangelo, che è l’alter ego di San Pio V. In questo caso è possibile che la donna turca rappresenti non solo l’Impero Ottomano, ma anche più in generale l’Eresia e le lotte che la Chiesa deve condurre in un’Europa sempre più laica e indipendente dei dettami del cattolicesimo. : Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (6/2017): Changing the Enemy, Visualizing the Other. Contacts between Muslims and Christians in the Early Modern Mediterranean Art Text Arcangelo lotte DataCite Metadata Store (German National Library of Science and Technology) Lepanto ENVELOPE(168.450,168.450,-72.733,-72.733) Pala ENVELOPE(40.637,40.637,64.896,64.896) St Michael ENVELOPE(58.492,58.492,-67.195,-67.195) |
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Open Polar |
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DataCite Metadata Store (German National Library of Science and Technology) |
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English |
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This essay analyses, through three exemplary images, the way in which the image of the Turkish enemy was used to promote the beatification and sanctification of pope Pius V, progressively becoming the emblem of all the battles the Church had to fight against any form of religious and political dissidence in the modern era. While in the frontispiece published in the Vita by Girolamo Catena (1586) the victory over the Turks is remembered along with that over the Huguenot heretics, in the painting of the beatification, conceived by Lazzaro Baldi in 1672, the pope is celebrated only and exclusively as the prophet who received the revelation of Lepanto’s victory. Following the canonization (1712), Andrea Procaccini realised the altarpiece for the chapel of St. Pius V in Santa Maria Sopra Minerva in Rome, where the Turkish enemy, personified as a woman, is floored by St. Michael archangel, who is the alter ego of St. Pius V. In this case it is possible that the Turkish woman does not only represent the Ottoman Empire, but also, more generally, Heresy and the battles that the Church must lead in an increasingly secular Europe, that is becoming more and more independent from the dictates of Catholicism. Il saggio analizza attraverso tre immagini paradigmatiche come l’immagine del nemico turco sia stata utilizzata per promuovere la beatificazione e la santificazione di papa Pio V e come essa sia divenuta progressivamente l’emblema di tutte le lotte da compiere da parte della Chiesa contro ogni forma di dissidenza religiosa e politica in età moderna. Mentre nell’antiporta pubblicata nella Vita di Girolamo Catena (1586) la vittoria sui turchi è ricordata insieme a quella sugli eretici ugonotti, nel quadro della beatificazione, realizzato da Lazzaro Baldi nel 1672, il pontefice è celebrato solo ed esclusivamente come il profeta che ha ricevuto la rivelazione delle vittoria di Lepanto. A seguito della canonizzazione (1712) Andrea Procaccini realizza la pala d’altare per la cappella di San Pio V in Santa Maria Sopra Minerva a Roma, nella quale il nemico turco, personificato in una donna, viene atterrato da un San Michele arcangelo, che è l’alter ego di San Pio V. In questo caso è possibile che la donna turca rappresenti non solo l’Impero Ottomano, ma anche più in generale l’Eresia e le lotte che la Chiesa deve condurre in un’Europa sempre più laica e indipendente dei dettami del cattolicesimo. : Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (6/2017): Changing the Enemy, Visualizing the Other. Contacts between Muslims and Christians in the Early Modern Mediterranean Art |
format |
Text |
author |
Capriotti, Giuseppe |
spellingShingle |
Capriotti, Giuseppe Becoming paradigm: the image of the Turks in the construction of Pius V’s sanctity |
author_facet |
Capriotti, Giuseppe |
author_sort |
Capriotti, Giuseppe |
title |
Becoming paradigm: the image of the Turks in the construction of Pius V’s sanctity |
title_short |
Becoming paradigm: the image of the Turks in the construction of Pius V’s sanctity |
title_full |
Becoming paradigm: the image of the Turks in the construction of Pius V’s sanctity |
title_fullStr |
Becoming paradigm: the image of the Turks in the construction of Pius V’s sanctity |
title_full_unstemmed |
Becoming paradigm: the image of the Turks in the construction of Pius V’s sanctity |
title_sort |
becoming paradigm: the image of the turks in the construction of pius v’s sanctity |
publisher |
eum |
publishDate |
2017 |
url |
https://dx.doi.org/10.13138/2039-2362/1712 http://riviste.unimc.it/index.php/cap-cult/article/view/1712 |
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ENVELOPE(168.450,168.450,-72.733,-72.733) ENVELOPE(40.637,40.637,64.896,64.896) ENVELOPE(58.492,58.492,-67.195,-67.195) |
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Lepanto Pala St Michael |
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Lepanto Pala St Michael |
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Arcangelo lotte |
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Arcangelo lotte |
op_rights |
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. http://creativecommons.org/licenses/by-sa/4.0 |
op_rightsnorm |
CC-BY-SA |
op_doi |
https://doi.org/10.13138/2039-2362/1712 |
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